In a message dated 8/2/2001 5:01:11 PM Central Daylight Time,
w.ritzerfeld@c... writes:
w.ritzerfeld@c... writes:
> I'm not saying that pop singers can't benefit from
> classical singing techniques, but the kind of sound (and sound level)
> they are looking for is totally different and, as far as I can see,
> only a limited set of 'classical' techniques would be applicable
>
I'd agree with Rocio's answer to this as well, that in ALL styles it is a
case of a mix, and therefore learning the "one voice" technique (also
referred to as "modal voice", or "bel canto") is the key. The difference
between styles is not so much a phonational one as a resonance one. The
resonance of classical singing tends to be more vertically oriented, (rather
than horizontal) along with more space in the pharynx and body as well. One
thing that interested me about your post, Wim, is that I personally feel that
my classical singing is very oriented to heavy mechanism, rather than light,
and that women who rely too much on heady mix will eventually wobble without
the firm speech point in there. It is especially important for mezzos who
sing the lower mezzo rep, and must penetrate the orchestra in the lower
passagio. I am a firm believer in Marilyn Horne's description of it as a
fractional mixing upward, heavy on chest at the low end (although always in
the "masque") and gradually, gradually mixing the head in as you ascend
(maintaining that connection at the extreme top to the speech). I've heard
(or, more accurately, had to struggle to hear) many a mezzo who strictly
brings their head down for the lower passagio rather than mixing their chest
up gradually. Their tones are the ones which are woofy, hooty, and wobbly
rather than firm and brilliant.
TinaO
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